Lithograph on grand vélin des Papeteries de Lana paper. Unsigned and unnumbered. Paper Size: 15 x 11 inches. Excellent condition. Notes: From the folio, Au Temps de Paris Seine, 1964. Published by Pierre de Tartas, Éditeur, Paris-Bièvres; printed by L'Ateliers Guillard Gourdon et Cie, Paris, 1964. Excerpted from the folio (translated from French), A unique example on Japon nacre, including original works by three painters as well as a study file, a suite of original lithographs on vélin de Lana, a suite of original lithographs in the margins of prints signed by the artists. Ten examples on Japon nacre, containing an original work by one of the painters, a voucher to be drawn from one of the plates, a continuation of the original lithographs on vélin de Lana, numbered from A to J. Thirty examples on Japon nacre with a suite of original lithographs on vélin de Lana. Numbered from 1 to 30. All the above copies have been signed by several painters. Fifty examples on vélin de Lana with a suite of original lithographs. Numbered from 31 to 80. One hundred eighty examples on grand vélin de Lana with the final state of the illustrations. Numbered from 81 to 260. KEES VAN DONGEN (1877–1968), born Cornelis Theodorus Maria 'Kees' van Dongen (1877 –1968) was a Dutch-French painter who was one of the leading Fauves. Fauves was coined by art critic Louis Vauxcelles for the group of artist that used bright colors. By 1905 he had left the influence of his training and symbolism style to become more controversial by exhibiting at the Salon d’Automne exhibit with a more radical form and color. His most important period is considered to be 1905-1920 where he focused on dancers, singers, masquerades, theater and all types of after-hours life. When he started to exhibit in Paris with Matisse, Derain, Marquet, Vlaminck, Camoin and Puy, he moved into a more avante-garde styling. Other artist that were moving to this form included, i Vlaminck, Friesz, Rousseau, Delaunay, Marquet, and Vuillard. These painters all felt the need to renew their methods of painting. Van Dongen (married to Augusta Preitinger by now) moved to Montmartre in 1906 where he was part of Pablo Picasso’s circle. He sold paintings, did sketches for a newspaper and held costume balls which he charge admission for all to make money. It was after the World War I that he started to create the lush colors of his Fauvist style. This helped cement a reputation in the upper class of France where he had a demand for his portraits. By 1959, Kees van Dongen was not living Monaco. Nine years later he would die. A large part of his work is held by the New National Museum of Monaco.